S5 E3 According to Harpy
by Harpy101
Summary: In the third episode of an eight part series conflicts are introduced, and arcs begin. So this is a bit of a launch pad. Everybody is in it including a couple of my own additions. There's flapper-talk, a storm, too much sherry, a fire and a suspension. Some romance, because so much romance was lost and needs to be made up for. And hopefully, humor. Action is in italics.


EVENING. INT. MRS. WRIGHT'S HOUSE. BEDROOM.

_Anna is tucking her in._

ANNA  
>How are you feeling now?<p>

MRS. WRIGHT  
>Please sit, Anna.<p>

ANNA  
>I could read to you.<p>

MRS. WRIGHT  
>No. I'll be falling asleep again<br>soon and I must speak with you.

ANNA  
>Alright.<p>

_Sits at her bedside._

MRS. WRIGHT  
>You don't know what you've meant to<br>me.

ANNA  
>And you don't-<p>

MRS. WRIGHT  
>No – please, let me go on for a<br>bit. (Laughs weakly). A few years  
>ago, I made a decision to live<br>according to my beliefs. I  
>embraced simplification. Because<br>of that I lost every friend I had.  
>Billy had moved to America. I knew<br>the choices I had made might lead  
>to being more alone. But I didn't<br>know how alone I would feel.  
>And then I met you.<p>

ANNA  
>But-you-<p>

MRS. WRIGHT  
>I knew right away that this lovely<br>young girl I had seen at church-  
>that something had happened to you<br>that never should have happened.  
>We heal ourselves even more deeply for<br>retracing the journey, when we  
>can help others to come<br>back through the darkness. You've  
>reminded me of everything that's<br>most precious.

ANNA  
>I don't know what I would have done<br>without you.

MRS. WRIGHT  
>Anna. What I came to see through<br>you again is the beauty of the  
>SPIRIT.<br>You've made it all worth it.

_Mrs. Wright reaches for Anna.  
>Anna holds Mrs. Wright's hands tenderly.<em>

MRS. WRIGHT (CONT'D)  
>Now go home to that handsome<br>husband of yours, and get some good  
>sleep. And tomorrow enjoy your<br>adventure running a great house!

ANNA  
>I'm sorry I won't see you tomorrow.<br>And I've asked Dr. Clarkson to  
>check in on you. We've weather on<br>the way, I've heard. They've had  
>storms up north that seem to be<br>moving our way.

MRS. WRIGHT  
>(Dreamily) My dear Anna. (Drifting<br>off) Under the wing of a storm...

BREAKFAST TABLE, DAY. ROSE, ROBERT, TOM AT TABLE.

_Rose opens an envelope. Tom spies the address from across_  
><em>the table.<em>

TOM  
>Oxford?<p>

ROSE  
>Yes! It's my friend Lady Clara<br>Findlay who studies there. She's  
>coming today!<p>

ROBERT  
>A visitor? Does Cora know?<p>

ROSE  
>I believe I mentioned it.<p>

_Robert and Tom stare at her._

ROSE (CONT'D)  
>I believe.<p>

_Carson enters._

ROBERT  
>Oh, Carson. We will be five for<br>dinner, as it turns out. And one  
>guest to stay-<p>

ROSE  
>Just overnight-<p>

CARSON  
>Very good, My Lord. One more guest<br>will not break us. Even on junior  
>staff as we are.<p>

TOM  
>Uh, no. I'll be having dinner in<br>the village.

ROBERT

Will you?

TOM  
>I hope that's alright.<p>

ROBERT  
>Of course. You may dine with<br>whomever you wish. That makes us  
>four, then.<p>

ROBERT (CONT'D)  
>(To Carson)<br>I am certain nothing will prevent  
>you from upholding your usual<br>standard, no matter the staffing.

LONDON. DAY. OFFICES OF THE SKETCH. MICHAEL GREGSON'S  
>FORMER OFFICE.<p>

_Edith is unpacking 2 small boxes. She sets a picture of_  
><em>Michael Gregson on the empty desk.<em>

BROWN  
>It being Saturday we're on weekend<br>staff My Lady. But I can help with  
>your-arrangements...<p>

EDITH  
>That won't be necessary.<p>

BROWN  
>I can - if you'd like my-<p>

EDITH  
>Thank you, Mr. Brown. I only need<br>your help to call a meeting next  
>week. I intend to address the<br>staff. I will need everyone there.  
>Let's schedule the meeting for<br>first thing Wednesday morning.

BROWN  
>This coming Wednesday, My Lady?<p>

EDITH  
>It will be a very short address,<br>Mr. Blake.

BROWN  
>But-Wednesday-<p>

EDITH  
>It's not the Monday starting shot<br>and it's not the Friday race to  
>finish. My friendship with Mr.<br>Gregson was informative enough that  
>I know how to respect the schedule.<br>I will address the staff Wednesday  
>morning first thing. Thank you for<br>organizing that.

BROWN

_Realizes he's been dismissed and leaves the office._

_Edith looks at the picture of Michael on the desk, squares_  
><em>her shoulders and sighs.<em>

THE TRAIN TO LONDON. DAY.

PATMORE  
>Want to see my pictures?<p>

HUGHES  
>You haven't got-<p>

PATMORE  
>Just a few!<p>

_She opens her bag and pulls out photos and_  
><em>folded magazines.<em>

HUGHES  
>My goodness! How long have you<br>been collecting?

PATMORE  
>Oh, years now.<p>

HUGHES  
>You're not a fan of Valentino.<br>You've got a crush!

PATMORE  
>Of course I have! Just look at<br>him, will you?

HUGHES  
>He could be my son. Seems a bit<br>strange. I admire him, of course.

PATMORE  
>In imagination, all things are<br>possible.

HUGHES  
>(laughs)<p>

PATMORE  
>Oh! We mustn't forget to stop by<br>that retched suffragettes meeting  
>and get some literature. Just to<br>cover our tracks.

HUGHES  
>You're treating this like a<br>clandestine meeting. Aren't you  
>the least bit curious to hear the<br>adventures of our brave sisters in  
>arms?<p>

PATMORE  
>What? Imprisonment, beatings, a<br>diet of maggots? I admire them, of  
>course. But I've read about the<br>reality. Do YOU need more of the  
>real world?<p>

_Hughes says nothing. She's thinking it over._

PATMORE (CONT'D)  
>Perhaps-the real world still holds<br>a prospect or two?

HUGHES

_Looks out the window._

_Patmore smiles to herself._

FRONT DRIVE. DAY.

_A CAR PULLS UP AND Lady Clara Findlay steps out. She's in_  
><em>very modern, upper-class dress with hair cut short in the<em>  
><em>Parisian style, very long beads, a drawn-on mole.<em>

CLARA  
>Am I Houdini?<p>

CORA  
>Uh. Hello.<p>

ROSE  
>Cousin Cora, this is Clara Findlay.<p>

CLARA  
>I'm not a crasher, am I? There was<br>no need to send the car to the  
>train, I could have dimboxed it.<p>

_Thunder cracks the sky, startling them. Cora recovers first._

CORA  
>Miss Findlay. You'd better come<br>in.

CLARA (bowing her head politely)  
>Countess, you are so kind to<br>have me. We've never been properly  
>introduced, so I must be a bit of a<br>surprise? I'm a ding-dangler but  
>Roz - urm - Rose - wouldn't hear<br>of it.

CORA  
>It's kind of you to come.<p>

_Jimmy carries her luggage and Anna follows. Sarah drops back_  
><em>to speak to Anna.<em>

CLARA  
>You're the bean picker, huh? Oh so<br>kind of you, but I dud up on my own  
>for dinner, munitions and all. My<br>dressmaker, elle est Francais. But  
>thank you all the same.<p>

CORA  
>Let's have tea.<p>

CLARA  
>I'm no crumb-cobbler, Lady Crawley.<br>But I'd murder for noodle juice.

UPSTAIRS HALLWAY.

BATES

(Smiles fondly at his wife.)  
>I haven't seen you all morning.<p>

ANNA  
>Lady Rose's friend has arrived from<br>Oxford. She talks like a lady half  
>the time and like a flapper the<br>other half. I just barely  
>understand her.<p>

BATES  
>How is Mrs. Wright?<p>

ANNA  
>Not well.<p>

BATES  
>I'm sorry.<p>

ANNA  
>I'll go down first thing in the<br>morning.

BATES  
>And the job of head housekeeper?<p>

ANNA  
>I've seen it done for years. Doing<br>it is a bit of a different thing.  
>But no disasters yet.<p>

BATES  
>And there won't be any.<br>You'll be a smashing.

ANNA  
>(Laughs.)<p>

BATES  
>One thing for certain. You're the<br>prettiest housekeeper I've ever  
>seen.<p>

ANNA  
>And you're a flirt!<p>

BATES  
>Should I not flirt with my<br>beautiful wife?

ANNA  
>You should. I insist on it.<p>

_He looks around the hall, so does she._

ANNA (CONT'D)  
>But it's very improper, Mr. Bates.<p>

_She looks around again and tilts her chin up, beckoning him._

_He cups her chin in his hand, stroking his thumb from her_  
><em>lower lip down and under her chin, slowly. Anna likes this,<em>  
><em>and he knows it.<em>

BATES  
>(Softly)<br>Whatever pleases _you_ is proper.

_Anna smiles, gives him an admonishing look and walks away._  
><em>He goes in the opposite direction.<em>

FRONT DRIVE. MID-DAY. RAIN.

_A car pulls up and Edith emerges; she runs in the door and_  
><em>pauses to shake off her umbrella.<em>

CORA  
>Edith! What are you doing home?<p>

EDITH  
>I wanted to come back for the<br>weekend. I missed-being home.

CORA  
>A friend of Rose is visiting from<br>Oxford.

EDITH  
>From Oxford? How interesting.<p>

CORA  
>Interesting. And nearly<br>unintelligible.

AFTERNOON. GUEST ROOM.

_Sarah is hanging up her new dinner dress and showing it to_  
><em>Rose.<em>

CLARA  
>I don't want to be a wind sucker<br>but here's my urban set.

ROSE  
>It's the cat's-<p>

CLARA  
>-pajamas. The cat's pajamas, Rozzy.<p>

Rose laughs.

CLARA (CONT'D)  
>Where's your wang-doodle, Roz? I<br>love apple-knockers and all but  
>it's so quiet out here!<p>

ROSE  
>Jazz? My room!<p>

SERVANT'S HALL.

_Mosely enters, breathless, and just a bit damp._

CARSON  
>Mr. Mosely. We've only the family<br>tonight, and one guest. There was  
>no need for you to come out in<br>this.

MOSELY  
>I know. I thought with Daisy and<br>Anna running things I would show up  
>to-cheer them on. Oh, and I saw a<br>car pull up front with Lady Edith  
>as I was coming around.<p>

_Baxter smiles at Mosely across the table._

CARSON  
>Thank you, Mr. Mosely. That's two<br>more then for dinner tonight, Lady  
>Edith and our guest.<p>

MOSELY  
>Who's the guest?<p>

ANNA  
>Lady Clara Findlay. A friend of<br>Lady Rose from Oxford.

CARSON  
>The Findlay estate. That was a sad<br>tale. They didn't last the war.

_Carson goes into the kitchen._

CARSON (CONT'D)  
>Daisy, we will have five for<br>dinner.

DAISY  
>The chickens won't do, then.<br>(Thinks) We'll do the Sunday roast  
>early.<p>

CARSON  
>For only five?<p>

DAISY  
>This won't make much sense, Mr.<br>Carson, but-I have a feeling we're  
>going to need it.<p>

_Carson stares at Daisy. Daisy stares back, very sure of_  
><em>herself.<em>

CARSON  
>Are you quite sure?<p>

DAISY  
>Mrs. Patmore always says double<br>what you need when bad weather is  
>coming in.<p>

(BEAT)

CARSON  
>It's irregular. But I'm not<br>against playing it safe tonight.  
>I'll change the wines.<p>

LATE AFTERNOON. LADY GRANTHAM'S HOUSE

_Isobel enters, shaking off rain. She looks at Violet, who is_  
><em>sipping a sherry comfortably.<em>

ISOBEL  
>Are you-have you been drinking?<p>

VIOLET  
>(Shrugs)<br>A sherry before dinner.

ISOBEL  
>You never have a sherry before<br>dinner. And it's very early to  
>start-<p>

VIOLET  
>I thought we were going to stay in<br>and play cards. And, sometimes  
>things that never happen, happen.<p>

_Violet looks up at Isobel, a bit too happily._

Happen.

ISOBEL  
>Dear God.<p>

VIOLET  
>Well go, then, if you're so<br>offended.

ISOBEL  
>I'm not offended.<p>

_Isobel looks about uncertainly for a moment, then shrugs._

ISOBEL (CONT'D)  
>I just need to - catch up.<p>

_Violet motions to the maid to pour sherrys._

VIOLET  
>Good. Make it quick. I want<br>another.

ISOBEL  
>Is that wise?<p>

VIOLET  
>Why not? Our starters seem to be<br>taking forever.

SPRAT

_Enters._

My Lady-It seems the stove is  
>broken. We'll need to call for<br>service tomorrow.

VIOLET  
>What is it that happens to stoves?<p>

SPRAT  
>I'm so sorry my lady. Cooking is<br>impossible tonight.

VIOLET  
>Alright. Thank you, Sprat.<p>

ISOBEL  
>And my cook is out for the evening.<p>

_She takes a big sip of sherry._

VIOLET  
>Shall we starve ourselves and<br>become mystics?

ISOBEL  
>I've bread, at the house, and ham.<br>I could make us-

VIOLET  
>A crust and a cup of water?<p>

ISOBEL  
>Well, after all the sherry.<p>

VIOLET  
>I see. We've fallen so far now,<br>have we?

ISOBEL  
>I can make a simple dinner-<p>

VIOLET  
>Nonsense, if you can't impose upon<br>your family who can you impose  
>upon?<p>

ISOBEL  
>You want to go to the Abbey?<p>

VIOLET  
>Of course. (To Sprat) Let the<br>driver know we're leaving now.

ISOBEL  
>We should call first.<p>

VIOLET  
>Why? For all the previous<br>centuries guests couldn't call  
>before showing up to beg a meal.<br>You had to-go WITH it.

ISOBEL  
>It's quite a storm. Should we-<p>

VIOLET  
>You worry so about everything. Now<br>get your coat and we'll impose  
>ourselves upon the children. We'll<br>be early enough for them to adjust.  
>(Nods to Isobel's glass of sherry)<br>Finish that first. (To the maid)  
>And pour two for the road.<p>

GRANTHAM ARMS PUB. VILLAGE. LATE AFTERNOON. RAINING.

_Sarah enters the pub, seeing Tom seated at a table with a_  
><em>spread of periodicals and books. She shakes off her coat and<em>  
><em>sits at the table.<em>

SARAH  
>You look studious.<p>

TOM  
>Mrs. Crawley is right. I've let<br>some of my interests slip.  
>And a lot has happened - I've got<br>some catching up to do.

SARAH  
>I commend a motivated student. But<br>what's the goal?

TOM  
>Well, knowledge is its own reward.<br>How was your day at school?

SARAH  
>I wish more of my students were<br>like you. I think it's the  
>unsettled weather today. The<br>static in the air. The only thing  
>that caught their interest was a<br>reading from Wuthering Heights.

TOM  
>A great story.<p>

SARAH  
>Yes. People caught between worlds,<br>the natural and the cultured.  
>Sounds a bit like you.<p>

TOM  
>Is it wise dining here tonight?<br>I'd hate you to get caught out in  
>the rain, or worse. This is<br>supposed to be a big storm.

SARAH  
>Since we're both early - why don't<br>we make it an early night and eat  
>now?<p>

FRONT DRIVE. LATE AFTERNOON. POURING RAIN.

_Violet's car pulls up. The chauffeur runs to the door with_  
><em>umbrella out, escorting first Violet, then Isobel to the<em>  
><em>door.<em>

Cora meets them, staring.

CORA  
>What-I-hello-<p>

VIOLET  
>A visitation of the naiads.<p>

ISOBEL  
>Yes. Very old naiads.<p>

VIOLET  
>Very old. The naiads of the<br>Ancient Mariner.

_Isobel finds this funny. Violet is proud of her wit._

CORA  
>But-why are you out in this?<p>

VIOLET  
>Stoves break. And cooks have the<br>night off. Who can say why  
>anything happens?<p>

_Carson enters, surprised, but able to rally in an instant._

CORA  
>Oh. Of course. Carson, please tell Anna<br>we need a nice fire in the PARLOUR.  
>(Cora punches this last word with<br>emphasis) And please, some coffee.  
>You'll stay for dinner, of course.<p>

ISOBEL  
>I do hope we're dressed well<br>enough. We were planning to stay  
>in and play cards, you see.<p>

VIOLET  
>Oh! Gin! And sherry. Gin and<br>sherry. And gin.

_Cora pales._

CORA  
>Let's get you to the fire in the<br>library until the parlour is ready.

VIOLET  
>She is hiding us.<p>

ISOBEL  
>Can't blame her, really.<p>

VIOLET  
>We never intended to make any sort<br>of disruption. But we decided not to be  
>mystics after all.<p>

_Isobel finds this funny, too. Violet is enjoying herself._  
><em>Cora rolls her eyes and herds them into the library.<em>

KITCHEN. LATE AFTERNOON.

_Carson enters._

CARSON  
>Daisy, it seems Mrs. Patmore's<br>philosophy is quite a helpful one.  
>We've two more for dinner.<p>

DAISY  
>Won't be a problem.<p>

CARSON  
>Good, good.<p>

_Carson continues down the hallway and into the servant's_  
><em>hall. Staff at the table stand.<em>

CARSON (CONT'D)  
>Mr. Mosely, since you are here,<br>would you help serve tonight?  
>We've two more for dinner.<p>

MOSELY  
>(With a quick glance at<br>Baxter.)  
>Of course, Mr. Carson. Glad to<br>help.

CARSON  
>Lady Grantham and Mrs. Crawley have<br>arrived.

MOSELY  
>Were they expected?<p>

CARSON  
>(With a frown)<br>No. But we will deign to feed  
>them.<p>

MOSELY  
>Oh. Of-of course. I'll get into<br>livery.

GRANTHAM ARMS PUB. EARLY EVENING.

_Tom is helping Sarah on with her coat._

TOM  
>I should drive you home.<p>

SARAH  
>That would makes no sense. Then my<br>car would be here.

TOM  
>But-<p>

SARAH  
>Are you really worried about me?<p>

TOM  
>It's a big storm.<p>

_There is a commotion at the front door of the pub. They look_  
><em>to see Evelyn Napier and Charles Blake, soaked to the bone<br>and streaming rain._

TOM (CONT'D)  
>What happened to you?<p>

NAPIER  
>Optimism. And mud. We're stuck<br>until this downpour is over, I'm  
>afraid.<p>

TOM  
>Where?<p>

BLAKE  
>Just a mile and a half up the road.<p>

NAPIER  
>We look like something the cat<br>dragged in.

TOM  
>I'd sack the cat that dragged you<br>in. And your luggage?

BLAKE  
>It was too far to carry it all.<p>

TOM  
>We'll have to go and fetch it.<p>

BLAKE  
>Impossible. We'll set up here for<br>the night and hire a car in the  
>morning.<p>

TOM  
>Sorry. I'd be murdered for<br>allowing it. You know how the  
>Crawley's would take it if I<br>didn't bring you home.

NAPIER  
>We couldn't show up like this.<p>

TOM  
>Come on, we'll go get your luggage<br>and get to the house before the  
>whole sky comes down. (To Sarah)<br>And we'll drop you home. (Sarah  
>begins to protest.) I'll come and<br>get you in the morning so you're  
>not late for school. Come on.<p>

CARSON'S OFFICE, EVENING BEFORE DINNER.

_Mary knocks. Carson looks up._

CARSON  
>Can I help, My Lady?<p>

MARY  
>I was just coming down to apologize<br>for all the extra guests. I know  
>you've everything well in hand, but<br>I thought I'd look in on the  
>assistant cook to say so, it being<br>her debut.

CARSON  
>Of course, My Lady.<p>

MARY  
>Urm-Carson?<p>

CARSON  
><em>Daisy<em>, My Lady.

_Mary smiles at Carson gratefully._

_MARY ENTERS THE KITCHEN DOORWAY JUST IN TIME TO SEE WHAT NO_  
><em>ONE ELSE SEES.<em>

_In the midst of the bustling kitchen activity Thomas tosses_  
><em>melted fat from the grease pot onto the top of the stove<br>so it catches the open_ _flames. Fire shoots up._

_Mary looks directly into Thomas's eyes for a split second, in_  
><em>shock, as mayhem ensues in the kitchen.<em>

_Thomas turns to Jimmy, handing him the grease pot. Jimmy_  
><em>holds it, confused and startled by the fire.<em>

HUGHES' OFFICE

_Anna, hearing the noise, runs out of the office and into the_  
><em>hall. She grabs the heavy brass fire extinguisher on the wall<em>  
><em>and pulls it down, but it is too heavy for her. She begins<em>  
><em>dragging it into the kitchen - all the while leaving the<em>  
><em>household keys on the desk in the office.<em>

HALLWAY.

_Thomas peers out of the servant's dining hall, sees Anna_  
><em>dragging the fire extinguisher into the kitchen and slips<em>  
><em>across the hall into Hughes' office. He sees the<em>  
><em>housekeeper's keys on the desk and goes for them. This is<em>  
><em>what he was hoping for. He detaches one key and turns to<em>  
><em>leave.<em>

_Carson runs out of his office at the sound of the commotion_  
><em>and into the kitchen. He takes the fire extinguisher from<em>  
><em>Anna. He tells everyone to stand back.<em>

KITCHEN

_Daisy grabs pots to take them off the stove and save the food_  
><em>and burns herself, crying out.<em>

MRS. HUGHES OFFICE

_Thomas is about to run out but stops, rifling through drawers_  
><em>and the bookshelf, shaking the books, finally pulling a book<em>  
><em>off the shelf and opening it. It's a hiding place for the<em>  
><em>spare set. He pockets the spare set of keys and glides back<em>  
><em>out of the office and into the dining hall, through and back<em>  
><em>toward the store room.<em>

KITCHEN

_Baxter grabs the grease pot from Jimmy's hand, giving him a_  
><em>significant look, and sets it on the counter as Carson douses<em>  
><em>the flames. There is a pause. Anna is looking at Daisy's<em>  
><em>arm and exclaiming. Daisy pulls away from Anna and looks to<em>  
><em>the pots of food she had to take from the stove.<em>

_Mary's eyes dart around the kitchen. She spies a teapot on a_  
><em>tray, grabs the first aid kit off the shelf and throws a<em>  
><em>bandage into the cold tea. She scoops the tea leaves from<em>  
><em>the bottom, making a quick poultice, and runs to Daisy,<em>  
><em>tugging on her elbow.<em>

DAISY:

_Not looking, shakes off Lady Mary._  
>I can't stop now!<p>

MARY  
>You will stop now, Just for a<br>moment.

_Daisy looks, sees Lady Mary and freezes._

DAISY:  
>My Lady! Oh, I beg your par-<p>

MARY  
>It's alright. I'm just bandaging<br>this.

_Mary wraps the tea leaf poultice onto Daisy's arm, tying a_  
><em>neat bandage.<em>

You need to keep it wet with very  
>strong, cold tea. You WILL make<br>time for that or we'll be paying  
>the doctor for a more profound<br>injury. Am I clear?

DAISY:  
>Yes, my Lady.<p>

MARY  
>Good. Now go, go!<p>

_Daisy springs into action, as behind her we see Thomas_  
><em>creeping through the back of the kitchen toward the store<em>  
><em>room. Kitchen maids are cleaning up the mess, getting food<em>  
><em>back onto the stove.<em>

FRONT DOOR, EVENING. POURING RAIN.

_Tom, Napier and Blake at the front door._

CORA  
>Goodness!<p>

TOM  
>I've brought us a treat.<p>

NAPIER  
>We broke down outside of town. We<br>were going to stay at the Arms-

CORA  
>Oh, no! You weren't. Were you?<p>

BLAKE  
>But Tom kidnapped us.<p>

CORA  
>Of course he did. I can't think<br>where Carson is. I'm sorry for  
>your wait.<p>

BLAKE  
>(Laughing) No, please-<p>

CORA  
>We'll have you dressed for dinner<br>shortly. I hope you haven't eaten?

_Violet and Isobel peek_  
><em>out of the parlour, looking down the hallway at them.<em>

KITCHEN DOORWAY.

OFF CAMERA V/O

CORA  
>My God! What happened?<p>

_Mary turns._

MARY  
>We've had a fire.<p>

_Now Mary is looking for Thomas._

CARSON  
>It is out, My Lady. Appears to<br>have been a grease fire.

MARY  
>Urm-the cook-Daisy - was quite<br>badly burned.

KITCHEN MAID  
>(Runs up to Daisy.)<br>There's not enough apricot mousse  
>and madelines for four more people.<p>

CORA  
>Seven more.<p>

MARY & CARSON  
>(together)<br>SEVEN?

CORA  
>You won't believe who showed up,<br>soaked to the bone. I need your  
>help at the front door, Carson.<p>

CARSON  
>Of course. Daisy, are you alright?<p>

DAISY  
>Yes.<p>

_Carson pauses, looking at her._

CARSON  
>You should not have reached into<br>the flames like that.

DAISY  
>Then dinner would have been late.<p>

ANNA  
>We'll look after her, Mr. Carson.<br>And I'm coming right up to  
>see to the rooms.<p>

CARSON  
>Thank you, Anna.<p>

_Carson looks Daisy over again, then heads upstairs._

CORA  
>I'm sorry, Daisy. I can't turn<br>them away at the door.

DAISY  
>No, it's fine. The roast will do<br>for twelve.

CORA  
>It's alright if there's no dessert.<p>

DAISY  
>I've got a pudding ready - or the<br>better part of one. It won't take  
>any time to put together.<p>

CORA  
>If you're sure-<p>

DAISY  
>(Turns and yells)<br>Milicent, get that roast covered  
>while it rests and two more pans of<br>Yorkshire puddings in the oven!  
>Ruth, triple that gravy. And whip<br>twice the cream up stiff before  
>it's tomorrow!<p>

_Mary and Cora exchange a look and leave the kitchen. Mary is_  
><em>still glancing around for Thomas.<em>

MRS. HUGHES' OFFICE

_Anna snatches up the keys from the desk._

ANNA  
>I'll get the rooms seen to.<p>

CORA  
>Apparently they broke down out in<br>the rain. All of their cases are  
>wet through.<p>

ANNA  
>(Thinking)<br>Mr. Crawley still had some things  
>in the attics.<p>

_Anna looks apprehensively at Mary, who shrugs and gives a_  
><em>little shake of her head to indicate she's fine. Mary is<em>  
><em>still looking behind them, preoccupied.<em>

ANNA (CONT'D)  
>We'll put together what we can.<p>

BAXTER:  
>My Lady, as I'm dressing both you<br>and Lady Mary, perhaps we had  
>better-<p>

CORA  
>Yes, thank you, Baxter.<p>

(To Mary) Let's go up.

BOOT ROOM

ANNA

_Enters. Bates is carrying in muddy shoes and wet coats._

You've already seen them, then?

BATES  
>(Laughing) Quite a sight.<p>

ANNA  
>And all they have is soaked<br>through?

BATES  
>Not everything, as it turns out,<br>but I will be raiding the attics to  
>fill it all out for dinner. Do you<br>think if Lady Mary saw any of Mr.  
>Crawley's clothing-<p>

MOSELY  
><em>Enters, adjusting his valet's waistcoat.<em>

I'm out of dinner livery. I can't  
>believe what happened! Are you<br>alright, Anna?

ANNA  
>Yes. It's Daisy I'm worried about.<br>Thank goodness for Lady Mary.

BATES  
>What happened?<p>

ANNA  
>We had a fire in the kitchen.<br>Daisy was burned saving dinner.

BATES  
>You're alright?<p>

ANNA  
>Yes, no one else was hurt.<p>

BATES  
>Mr. Mosely, if you could sort these<br>out to dry I'll get up to the  
>attics.<br>We should be able to lay out  
>everything for Mr. Blake and Mr.<br>Napier within the quarter hour.  
>You will dress Mr. Napier.<p>

ANNA  
>I think Lady Mary will be alright<br>if she sees Mr. Crawley's clothing  
>on one of the other gentlemen.<p>

BATES AND MOSELY

_Look at her inquiringly._

ANNA  
>I can't say precisely why, but I<br>have a feeling it will be fine  
>tonight.<br>I've got to get on. Do you need  
>anything else?<p>

BATES  
>If you see Thomas. He'll need to<br>dress Mr. Blake.

_Bates takes a moment to smile sweetly at Anna as he rises to_  
><em>go up. She smiles back. Mosely bustles around them, sorting<em>  
><em>wet coats and shoes. While this is happening Thomas slinks<em>  
><em>past the boot room doorway, unseen.<em>

_Thomas climbs the servant's stairs two at a time, silently._

_Bates and Anna head up the stairs just behind Thomas, not_  
><em>seeing him.<em>

LADY MARY'S BEDROOM

BAXTER  
>It's proving to be quite an<br>evening.

MARY  
>Yes. Baxter-I saw something in the<br>kitchen that quite disturbed me.  
>And I believe you saw it, too. Or<br>part of it.

BAXTER  
>(Sobers)<p>

MARY  
>Thomas. Mr. Barrow. I believe he<br>started that fire deliberately.  
>Did you see it?<p>

BAXTER  
>I did not see that, My Lady. I saw<br>him hand the grease pot to James  
>right after the fire started and go<br>quickly into the dining hall.

MARY  
>I saw that, too. After he had<br>tossed grease onto the cooking  
>flames. It was so outrageous a<br>thing to do - I have a hard time  
>believing my own eyes. But if he<br>had the grease pot in his hand-  
>would you believe such a thing of<br>Barrow?

BAXTER  
>I am-used to surprises, My Lady,<br>The good and the bad.

MARY  
>It is a very serious accusation to<br>make. But I know what I saw.

HALLWAY UPSTAIRS.

_Anna is closing hallway closets. She touches the shoulder of_  
><em>a passing maid and gives her a quick smile.<em>

ANNA  
>Those rooms were well done,<br>Charlotte. And quickly, too.  
>Please give them some extra candles<br>before you go down.

_A kitchen maid appears at the top of the stairs._

KITCHEN MAID  
>Mrs. Bates! Come quick!<p>

ANNA  
>What is it?<p>

KITCHEN MAID  
>The store room is locked! We can't<br>get food out of the larder to make  
>the pudding!<p>

ANNA  
>I'm coming.<p>

_Anna flips through the keys, her head down. She stops,_  
><em>nearly bumping into her husband.<em>

BATES  
>What is it?<p>

ANNA  
>The store room key.<p>

_Anna goes through the keys again._

ANNA (CONT'D)  
>It's gone.<p>

BATES  
>Did you lose it?<p>

ANNA  
>I don't know. But there's a spare<br>set in the office. Are our guests  
>dried off?<p>

BATES  
>Yes. I'll see you down there.<p>

LIBRARY. EVENING BEFORE DINNER.

_Mary enters, seeing only Robert._

ROBERT  
>Since we have some time before<br>dinner I have something I want to  
>say.<p>

MARY  
>Yes?<p>

(This is difficult for Robert.)

ROBERT  
>I want to say that - I know what<br>you want to do, and I will-try get  
>behind it every way I can.<p>

MARY  
>Papa-<p>

ROBERT  
>This is not easy, so let me get<br>through it. You have always been  
>the bravest of us.<p>

MARY  
>I don't know about that. Sybil-<p>

ROBERT  
>Sybil was the baby. The baby of<br>the family is always more protected  
>and more free. But the eldest is<br>always out front and bears the most  
>responsibility. And you have<br>always borne it as you were born to  
>it. You have an iron will. I-<br>didn't trust that will. And I was  
>wrong.<p>

MARY  
>Papa, when you made that loan to<br>Mr. Drewe you acted against what I  
>would have advised. But you were<br>right to do it. It was the best  
>thing you could have done for all our efforts.<br>I'm afraid both of us are needed now  
>and we won't always have the luxury<br>of agreeing. We must lock horns  
>occasionally to make this work. I<br>think there is no other way.

CORA ENTERS.

ROBERT  
>Is everyone cleaned up?<p>

CORA  
>Very nearly.<p>

ROBERT  
>What a night. I should have<br>expected some hitches, I suppose.

CORA  
>It's not any of the servants'<br>fault. And by the way, your mother  
>arrived drunk.<p>

ROBERT  
>What?<p>

CORA  
>And we've had a fire.<p>

ROBERT  
>WHAT?<p>

CORA  
>(Sighs) Everything is fine now.<br>Let's go through.

HUGHES' OFFICE

_Anna is rifling through the office._

BATES  
>The spare set?<p>

ANNA  
>It's missing.<p>

BATES  
>Are you sure?<p>

ANNA  
>There's only one place she keeps<br>them.

_She stops and stares at him._

ANNA (CONT'D)  
>I've got to get the store room<br>open. Now.

BATES  
>Come with me.<p>

OUTSIDE THE STORE ROOM DOOR.

BATES  
>I need your hair pins.<p>

_Anna begins to take them out._

BATES (CONT'D)  
>I'm faster.<p>

_She gives him a look but turns around. He slides the pins_  
><em>out of her hair with one motion and watches just for a second<em>  
><em>as her hair falls.<em>

_He pries the lock with the pins. After a few jigs the latch_  
><em>clicks and the door sings open.<em>

_Anna gives him a grateful look. Bates is looking at his_  
><em>wife.<em>

ANNA  
>What?<p>

BATES  
>I never see you with your hair<br>down, except-

ANNA  
>But where are the keys?<p>

_Then he has a thought._

(BEAT)

BATES  
>I think I know.<p>

_Bates and Anna look at each other, sharing the realization._

ANNA  
>I'll find Miss Baxter.<p>

_They go in opposite directions, then come back to each other._  
><em>Bates hands her the hair pins. They are off again.<em>

UPSTAIRS HALLWAY. BAXTER AND ANNA.

_Anna, still pinning her hair back up, begins to speak to_  
><em>Baxter, who interrupts her.<em>

ANNA  
>Miss Baxter, a word, please-<p>

BAXTER  
>Did you see what happened in the<br>kitchen?

ANNA  
>I heard the noise when the fire<br>started and ran in then. Is that  
>what you mean?<p>

BAXTER  
>Lady Mary says she saw Thomas start<br>the fire. I saw him hand the grease  
>pot to James right after it started<br>and go into the dining hall. Lady  
>Mary is calling a meeting of<br>everyone who was there after  
>dinner. I didn't see him do it but-<br>(Pauses) He ran away from the fire.

_Anna stares at Baxter, then nods to herself._

ANNA  
>And then the keys went missing.<p>

BAXTER  
>The household keys?<p>

ANNA  
>Miss Baxter, please search your<br>room immediately. Look everywhere.  
>The storeroom key is missing, and<br>also the spare set of household  
>keys.<p>

BAXTER  
>Search my own-?<p>

_Their eyes meet, and Baxter understands. Baxter moves_  
><em>quickly down the hallway toward her room.<em>

DOWNSTAIRS HALLWAY, DINNER TIME.

CARSON

_Is looking for Thomas, spots him._

Where the devil have you been?

THOMAS  
>Keeping a lid on things while<br>you've been - distracted. Mr.  
>Blake is dressed for dinner. And<br>I'm ready to serve, as you can see.

CARSON  
>Mr. Mosely dressed Mr. Napier and<br>Ah! There you are, Mr. Mosely-  
>also managed to get out of serving<br>livery, into valet's dress, then  
>back into livery for serving<br>tonight. So you must share the  
>credit for "keeping the lid on<br>things."

MOSELY

_Allows himself a small smile and goes into the kitchen._

DINNER TABLE. UPSTAIRS.

NAPIER  
>Sunday dinner on Saturday night.<br>Unusual, but it hit the spot after  
>the night we've had.<p>

BLAKE  
>Yes. On a cold, wet night that<br>roast was most appreciated.  
>Tell Mrs. Patmore she's exceeded<br>herself.

MARY  
>Well, as a matter of fact it was<br>not Mrs. Patmore at the helm  
>tonight. It was our assistant<br>cook, Daisy.

BLAKE  
>You know the assistant cook's name?<p>

MARY  
>You remembered Mrs. Patmore.<p>

BLAKE  
>I have a head for names.<p>

NAPIER  
>In our own defense, we were<br>kidnapped after meeting with  
>disaster. We did not plan to show<br>up at your door like stray sheep in  
>the storm.<p>

MARY  
>Sheep? I wouldn't say sheep.<br>Perhaps some wilier animal.

BLAKE  
>It's true. Yes, we got stuck, and<br>we were kidnapped by Tom. But  
>you're right, Mary. If you think<br>I'm above opportunism when it comes  
>to certain potential advantages,<br>you'd be overestimating my  
>character.<p>

NAPIER  
>We'd hate for you to do that.<p>

_Napier adjusts his waistcoat slightly. _

_Mary looks at the waistcoat and catching_  
><em>Napier's eye, smiles. She is calm, and not<em>  
><em>saddened.<em>

BLAKE  
>But you wouldn't, would you, Mary? You<br>know us all well enough to judge.

VIOLET  
>Was this supposed to be dinner? I<br>thought we might be attending a  
>jousting. I'm dressed entirely<br>wrong for both.

ROBERT  
>Yes, gentlemen, please-<p>

CLARA  
>But this is the duck's quack!<br>It's like the knights of old! I  
>could watch it all night.<p>

ROSE  
>Clara is used to more informal<br>discourse, I would imagine, at  
>Oxford.<p>

CLARA  
>Formal discourse, actually.<p>

EDITH  
>What are you studying at Oxford?<p>

CLARA  
>Logic and rhetoric.<p>

_A stunned silence settles over the table. Violet breaks it._

VIOLET  
>What's so difficult to believe?<p>

(Gives Sarah a glance.)

Everything about Miss Findlay seems  
>very rhetorical.<p>

ISOBEL  
>My son studied rhetoric as part of<br>his education in law. I believe he  
>enjoyed it.<p>

CLARA  
>Law, yes, to a purpose. But it's<br>not the pure study of argument.  
>Law merely exploits any and all<br>fallacies to exact a goal. The  
>study of logic is quite pure.<p>

TOM  
>Pure?<p>

CLARA  
>Yes. Aristotle believed that all<br>arguments should be won or lost on  
>logos, on reason alone. The world<br>would be a better place if they  
>were. Roz, you remember I'm a<br>smoke-eater, right? Can we blouse  
>after dinner? I'm dying for a fag.<p>

UPSTAIRS HALL.

BATES  
>An interesting night. How are you<br>doing?

ANNA  
>Lady Mary says it was Thomas who<br>started the fire. She says she saw  
>him do it. She's called a meeting<br>of the staff after dinner to  
>witness what they saw.<p>

BATES  
>How is Daisy's burn?<p>

ANNA  
>Lady Mary did some quick thinking.<p>

BATES  
>So Daisy had to make dinner for<br>eleven when she was expecting four,  
>her first night running the kitchen-<br>and she's got a burn as well?

ANNA  
>From the fire Thomas set.<p>

_They see Baxter coming down the hall toward them. She pauses,_  
><em>shyly.<em>

ANNA (CONT'D)  
>You have them?<p>

BAXTER  
>Yes. I just-I didn't want you to<br>think-

_Anna and Bates both laugh, a little bitterly._

BATES  
>Miss Baxter, we know you're<br>innocent. All the same, let's keep  
>this part of the story to<br>ourselves. If he's been  
>manipulating you he won't come out<br>with that now that his plan has failed.

BAXTER

_Passes the single key and ring of spare keys to Anna._

Thank you. Truly.

BATES  
>We know him. We know how he works.<p>

ANNA  
>(Looks at her husband) I think<br>you're right. (To Baxter) We'll  
>keep your story out of it.<p>

BAXTER  
>I'm very grateful.<p>

BATES  
>Not at all.<p>

ANNA  
>Don't worry any more about it.<p>

KITCHEN.

THOMAS  
>It's rather strange isn't it? The<br>Sunday roast on Saturday night?  
>Seems a bit desperate. Who knows<br>what Mrs. Patmore will have to say  
>about that.<p>

MOSELY  
>They're loving it upstairs, Daisy,<br>I can tell you that. A roast on a  
>stormy night with a nice gravy.<br>There are no complaints at the  
>table.<p>

_Daisy sets the pudding on the tray, garnished._

THOMAS  
>And what is this?<p>

DAISY  
>Tell them it's a spring trifle.<p>

THOMAS  
>A trifle is a Christmas pudding,<br>Daisy. How can it be a spring  
>trifle?<p>

JIMMY  
>Why don't you leave her alone?<p>

THOMAS  
>Why are you her champion all of a<br>sudden?

JIMMY  
>Friendships can take sudden turns,<br>can't they?

_Pushes Thomas out of the way._

JIMMY (CONT'D)  
>A spring trifle then, is it Daisy?<br>I'll let them know.

_Jimmy takes the tray, passing Bates in the hallway; Bates_  
><em>stops just past the kitchen doorway in time to hear Thomas.<em>

THOMAS  
>You know me, Daisy, I'm just trying<br>to be helpful. Wouldn't do to  
>botch your first night. Food off<br>schedule, strange puddings and all.

DAISY  
>(Sarcastically) Thanks ever so.<p>

THOMAS  
>Always here to save the day.<p>

_Thomas sails out of the kitchen; as he rounds the corner_  
><em>Bates trips him neatly with his cane. Thomas goes sprawling<em>  
><em>on his face.<em>

BATES  
>(Very softly to Thomas on the<br>floor.)

You should watch your step.

_Bates slips into the dining hall._

_Carson, hearing the noise, emerges from his office and sees_  
><em>Thomas on the floor.<em>

(Beat)

CARSON  
>Well, get up, Mr. Barrow! We've no<br>time for dramatics, or whatever  
>you were up to!<p>

CROWDED STREET CORNER IN LONDON OUTSIDE A GRAND THEATER.  
>EVENING.<p>

_Hughes and Patmore move away from a dispersing crowd, all_  
><em>dressed for the evening.<em>

HUGHES  
>I believe the costumes were the<br>best part of that show.

PATMORE  
>Valentino is always the best part.<p>

HUGHES  
>He's getting a bit-feminine, isn't<br>he?

PATMORE  
>That's his wife doing that, they<br>say.

HUGHES  
>Why on earth?<p>

PATMORE  
>Jealousy. Can you blame her?<p>

_Mrs. Patmore stumbles and nearly falls into the street. She_  
><em>is pulled onto the sidewalk by a large gentleman.<em>

PATMORE (CONT'D)  
>OH! Thank you!<p>

GENTLEMAN  
>(In heavy Scottish brogue)<br>Got to look sharp, ginger cake.  
>These streets can be killers.<p>

_He winks at Patmore. Hughes and Patmore are stunned._

PATMORE  
>Ginger cake! I don't know if I've<br>been insulted or not.

HUGHES  
>Your life was saved, at least.<p>

PATMORE  
>I can't fault that. But I think<br>the wink did me just as much good!

HUGHES  
>I'm sure many people aren't as<br>lucky. I'm sure-it's a common  
>occurrence.<p>

_Hughes watches the crowds on the streets, pensive._

DINNER TABLE UPSTAIRS

EDITH  
>The - spring trifle - was it? Was<br>delicious. I've never had anything  
>quite like it.<p>

CORA  
>With all that's happened<br>tonight I've asked Carson to fetch  
>Daisy up here. I hope you all don't<br>mind.

CARSON  
>May I present assistant cook Daisy,<br>who-

_Blake interrupts by applauding, loudly. Isobel joins, then_  
><em>Edith and Mary. Soon everyone is giving Daisy a polite<em>  
><em>round.<em>

Daisy curtsies, then looks at Mary.

DAISY  
>Thank you, My Lady.<p>

MARY  
>And your injury?<p>

DAISY  
>It hardly hurts at all now, My<br>Lady.

MARY  
>Keep cold tea poultices on it until<br>we can get the doctor to look at it  
>tomorrow.<p>

DAISY  
>Yes, My Lady.<p>

CORA  
>That pudding was lovely, Daisy,<br>light as a cloud after the roast.

_Daisy curtseys again and nearly runs out of the room._

BLAKE  
>You rescued the cook?<p>

MARY  
>No, She had a burn. Second degree<br>at least.

BLAKE  
>You bandaged a burn. In the<br>kitchen?

MARY  
>The war did teach me a few basic<br>things. I never learned as much as  
>Sybil, of course.<p>

BLAKE  
>It seems no matter the situation,<br>you are indispensable.

_Mary is pleased, and tries to hide it._

CAR INTERIOR, RAINY NIGHT. THE JOURNEY HOME.

ISOBEL  
>That Mr. Blake seems to be leading<br>the race.

VIOLET  
>Yes. (Pause) Did you love your<br>husband?

ISOBEL  
>Yes, I did. And you?<p>

VIOLET  
>Love can be complicated.<p>

ISOBEL  
>Complicated? Not for a lady,<br>surely.

VIOLET  
>Not in the open.<p>

_Isobel stares at Violet. _

VIOLET (CONT'D)  
>Storms always remind me-this time<br>of year-do you ever feel it again,  
>just for a moment, what it was to<br>be in love?

ISOBEL  
>Yes.<p>

VIOLET  
>Why put him off, then?<p>

ISOBEL  
>Who?<p>

VIOLET  
>You know who.<p>

ISOBEL  
>I'm not-<p>

VIOLET  
>Why stay a prisoner of grief?<p>

ISOBEL  
>I'm not-<p>

VIOLET  
>You are. You're almost acting like<br>one of my people, pretending you  
>don't want more. It's a waste.<p>

_Close up Isobel looking out into the rainy night._

_Isobel feels a movement and looks down to see Violet asleep_  
><em>on her shoulder.<em>

CARSON'S OFFICE.

Lady Mary and servants. Carson, Thomas, Jimmy, Baxter, Anna,  
>kitchen maids.<p>

MARY  
>Thank you, all. We will dispense<br>with this as quickly as possible.  
>Anna, as head housekeeper tonight<br>has agreed to be a witness here and  
>observe. Mr. Carson will handle<br>this as he always does.

CARSON  
>Thomas, you had something to do<br>with the grease fire tonight. What  
>have you to say?<p>

THOMAS  
>A kitchen can be a hazardous place<br>to work.

MARY  
>You must carefully consider now<br>what you say, Barrow. I looked into  
>your eyes as you threw the grease<br>on the flames and I saw you run  
>after you had handed the grease to<br>Jimmy.

THOMAS  
>I may have slipped moving<br>the grease pot.

CARSON  
>James?<p>

JIMMY  
>That's true. The fire had just<br>started. And suddenly you handed  
>the grease to me. (pause) Hoping I'd get<br>blamed.

CARSON  
>And Miss Baxter?<p>

BAXTER  
>I admit, My Lady, that I took the<br>grease from Jimmy's hand and put  
>it on the counter. I didn't see Mr.<br>Barrow throw grease on the stove.  
>But I did see him hand it to Jimmy<br>and run into the dining hall just  
>as the fire had started. I-thought<br>something seemed wrong.

MARY  
>I saw you do it, Barrow. I can't<br>think why you would do such a thing  
>but on a night when we are on<br>junior staff who are doing their  
>best to prove themselves it seems a<br>cold, calculating thing to do. A  
>heinous thing to do in any case,<br>resulting in injury of one of your  
>coworkers, and it could have been more.<p>

(Silence)

MARY (CONT'D)  
>For bald-faced lying I would<br>automatically dismiss a servant,  
>and for causing injury and danger<br>to the entire staff and the house I  
>would send you out immediately.<br>But you've been a long time in our  
>employ. And I must speak to Papa<br>for his decision on this. We won't  
>throw you into the night. But for<br>now you are on suspension. I don't  
>want you doing any work in this<br>house.

CARSON  
>You are suspended, Thomas. You are<br>dismissed from this meeting.

_Thomas does his best to exit with dignity. The rest of the_  
><em>staff seem to let out a collective sigh. They are all quite<em>  
><em>tired by now.<em>

MARY  
>It's been a long night. I do want<br>to say that Anna and Daisy were  
>exemplary this evening, under<br>trying circumstances, and I could  
>not be more impressed with them<br>both. As for Mr. Barrow, if it were  
>only me I would dismiss him<br>immediately. But he will be under  
>strict watch until a decision is<br>made. Good night, everyone.

EARLY MORNING. MRS. WRIGHT'S HOUSE.

_Anna knocks. There is no answer. She enters._

ANNA  
>Mrs. Wright? It's Anna. Good<br>morning.

_She enters the bedroom softly._

ANNA (CONT'D)  
>I've brought-<p>

_Anna sees no movement in the bed and puts her hand on Mrs._  
><em>Wright's shoulder.<em>

ANNA (CONT'D)  
>Mrs. Wright?<p>

_Close up on Anna looking down at the bed, realizing her_  
><em>friend is dead.<em>

THE END

CREDITS


End file.
